INTERNAL DIMENSIONS OF CATHEDRALS.
The length, width at transept, and height in feet of the largest cathedrals are said to be: St. Peter’s, Rome, 613, 450, 152; Old St. Paul’s, 590, 300, 102; Modern St. Paul’s, 460, 240, 88; Canterbury, 514, 130, 80; Winchester, 545, 209, 78; St. Albans, 543, 175, 66; Westminster, 505, 190, 103; Ely, 517, 185, 72; York, 486, 222, 101; Durham, 473, 170, 70; Lincoln, 468, 220, 82; Salisbury, 450, 206, 84; Florence, 458, 334, 153; Saltzburg, 466; Cologne, 445, 250, 161; Milan, 443, 287, 153; Granada, 425, 249; Amiens, 442, 194, 140; Paris, 432, 186; Chartres, 418, 200, 114; Rouen, 415, 176, 89; Valladolid, 414, 204; Seville, 398, 291, 132; Ratisbon, 384, 128, 118; Constantinople, 360; Palermo, 346, 138, 74; Drontheim, 334, 166; Upsala, 330, 140, 105; Vienna, 337, 115, 92; St. Patrick’s, Dublin, 300, 157, 58; Glasgow, 282; Venice, 205, 164.
THE GOTHIC CATHEDRALS.
The birthplace of true Gothic architecture was north of the Alps—it would seem on the Rhine. The northern climate may have had something to do with its rise and development. Its high roof would cast off more easily the heavy snows; the numerous windows would welcome the flooding light; and to restore the solemnity and subdue the glare painted glass was resorted to. The Gothic cathedral, says Milman, was the consummation, the completion, of mediæval, of hierarchical, Christianity. The church might seem to expand and lay itself out in long and narrow avenues with the most gracefully converging perspective, in order that the worshipper might contemplate with deeper awe the more remote central ceremonial. The enormous height more than compensated for the contracted breadth. Nothing could be more finely arranged for the impressive services; and the processional services became more frequent, more imposing. The music, instead of being beaten down by low, broad arches, or lost within the heavier aisles, soared freely to the lofty roof, pervaded the whole building, was infinitely multiplied as it died and rose again to the fretted roof. Even the incense, curling more freely up to the immeasurable height, might give the notion of clouds of adoration finding their way to heaven. The Gothic cathedral remains an imperishable monument of hierarchical wealth, power, devotion. It has been described as a vast book in stone—a book which taught by symbolic language, partly plain and obvious to the simplest man, partly shrouded in not less attractive mystery. Even its height, its vastness, might appear to suggest the inconceivable, the incomprehensible, the infinite, the incalculable grandeur and majesty of the Divine works. The mind felt humble under its shadow, as before an awful presence.
THE ALTAR IN CHURCHES.
Christian churches had an altar, which, to distinguish it from the old altars of the Jewish and Pagan temples, on which sacrifices of blood were offered, was only a table, shaped in memory of the Last Supper. Altars of stone began to be used in the fourth century, and were directed by several councils to be used, as these were symbolical of Christ, the Rock. About the thirteenth century, the altar began to be shaped like a tomb. At first there was only one altar allowed in one church, to signify the unity of the Church; but at later dates more than one were introduced for convenience. The altar at first stood in the centre of the church, but in later times stood at the east end of the building. In the tenth century the cross began to be put on the altar, but neither cross nor candles were put permanently there till the fourteenth century. The great distinction in England after the Reformation was the substitution of a plain movable wooden table for the celebration of the Communion instead of the fixed altar.
INCENSE AND HOLY WATER IN CHURCHES.
Incense was a mode of symbolising the prayers offered to God. Some trace its origin to the fifth, and others no higher than the eighth or ninth, century. In the Catacombs it may have been useful to dispel damp and noisome smells. It was a very frequent accompaniment of Divine service in all Christian churches before the Reformation. Holy water was suggested as a mode of exorcising devils, and Pope Alexander I. directed it to be used in churches, and it was mixed with salt. A stone basin, called a holy-water stock, was kept at the entrance of churches, with a brush for scattering it.
ST. PETER’S AT ROME.
The great attraction of Christendom for centuries was the church of St. Peter’s at Rome, built on the site of the original church in which it was said the Apostle Peter officiated. In 306 Constantine founded a basilica on the same spot. In 1450, the structure being ruinous, Pope Nicholas V. commenced the present extensive building, but it was long before it advanced. When Michael Angelo completed the design for a Papal tomb, it gave a stimulus to this undertaking, and Julius II. engaged Bramante to complete a design, and that was proceeded with. After two or three successors had been engaged, one of them being Raphael, Michael Angelo was appointed to complete the works, and he acted as chief designer till 1563, when he died at the age of eighty-nine. The main design was not completed till 1590. The number of architects has thus marred the unity of the building, and each having added or altered something, alterations still went on till 1780, so that nearly three and a half centuries passed in maturing it. It covers about six acres, and is about 100 feet longer than St. Paul’s, London. The interior is of magnificent and harmonious proportions. The height of the nave is 152 feet, and 88 feet wide; the side aisles are 34 feet wide. The diameter of the interior of the cupola is 139 feet. The exterior height to the top of the cross is 448 feet. The nave is richly decorated with gilding and stucco ornaments, and colossal statues fill the lower niches. The dome is supported by four massive piers, each with two recesses. Above the lower recesses are four balconies, in which are preserved the relics of saints. One is the sudarium or handkerchief of Veronica, containing a likeness of the Saviour. There is also a portion of the true cross discovered by St. Helena. The head of St. Andrew is also here. The cupola above the dome is divided into sixteen compartments, ornamented with gilded stuccoes and mosaics. The design, altitude, and decorations of the cupola are described as glorious, and the mind dilates with wonder and rapture as the details are examined. The Baldacchino or grand canopy over the high altar is under the centre of the dome, and is 95 feet high, supported by four spiral columns. The high altar is immediately over the relics of St. Peter. This altar is only used on grand occasions, and the Pope alone can celebrate Mass there, or a cardinal specially authorised by a Papal brief. On the right side of the nave is a bronze statue of St. Peter on a marble chair, and with the foot extended. On entering the basilica devotees kiss the toe of this foot, and press their foreheads against it. The figure is rude and of uncertain origin. The tribune, which is behind and east of the high altar, is decorated with the designs of Michael Angelo, and contains the chair of St. Peter, in which he is said to have once officiated, and which is kept in a closet high in the wall safely locked with three keys, and exhibited only on rare occasions. In one chapel the Pieta of Michael Angelo, a marble group, and a masterpiece of his, is placed. In another chapel there is a column in white marble, said to have been brought from the Temple at Jerusalem, and the one against which the Saviour leaned when He disputed with the doctors. The illumination of St. Peter’s on Easter Sunday, when all the details are lit up with lamps, is like a blaze of fireworks. When lit up, there are 6,800 lamps burning.